Michaela Drapes: Why is Sia suddenly everywhere? Is Fergie on extended leave or something? Not that she would have guested on this stinker, but …[3]

Andy Hutchins: Flo Rida is well on his way to being the Most Important Rapper No One Knows Anything About of 2012 (previous belt-holders include Pitbull, Nelly, Ludacris), and it’s specifically because he has no specific personality whatsoever (this is also a very Floridian thing, of course) and is willing to do anything to make a track work. Here, he is mostly just warbling “Oooh-oooh” and staying out of the way of the save-whomever-it-is-near-you-that-is-either-wild-or-interested-in-wild-people hook from Sia — both undersung and unnecessarily backed by Tramar Dillard (this is Flo Rida’s government name, and now you know) — and dropping the “party rock” you know he needs to drop after taking LMFAO’s steez and souping it up with even more $ophi$icated production. It’s not particularly good, this track, but the formula is one Flo Rida and Dr. Luke are going to run into the ground, and if there isn’t a world-beating Ke$ha/Flo collab coming in the next month or two, I’m going to be very upset.[4]

Erick Bieritz: Flo Rida has now completed the pop-dance Guetta/Dr. Luke/Swedish House Mafia triumvirate… and all three songs are pretty good. A number of lesser acts are passed off as ideal guiltless party music, but it’s Flo Rida who is the perfect foil for these producers, adding a bit of heft to featherweight pop music without ever slowing the dance floor’s sugar rush. Torchy Australian singer Sia also acquits herself well, putting some guts into an Ooooo-ooo that a lot of hook girls could do proficiently but flatly.[7]

Iain Mew: I’ve liked some of the Sia songs that I’ve heard, but her abrasive yawl is fundamentally unsuited to the anonymous house diva guest spot. Apart from anything else, the more inane the words you give her, the more she appears to be ridiculously over-singing them. These are very inane. Flo Rida is okay, but I barely even notice him as I’m too busy bracing myself for the next “ooooh-HWooo-HWOOWOO”.[3]

Brad Shoup: Somehow Sia sounds more invested in Flo Rida’s pop shuffle than the Hilltop Hoods’ tour-life power ballad. I love her over-enunciated vowels, the mountaintop melodrama that sells the out-of-place baseballism. Per usual, Flo Rida is more preset than man, but a couple coding errors (“binoc’lars” sounds a hell of a lot like “binacas”) are offset by his always-welcome rumbly croon. Subliminal suggestions of drumlines and judicious deployment of that guitar siren are bonus features. [7]

John Seroff: Wow, Sia sounds like Rihanna! Awesome! And Flo Rida still sounds like Flo Rida. Bummer. “Wild Ones” is just mediocre and unassuming enough to sit quietly on pop radio for the next three months without anyone complaining or caring. It is sonic grout.[5]

Alfred Soto: The rolling piano pushes Sia into singing with verve, and if Flo were handed a better set of couplets I’d overrate this. [5]

Katherine St Asaph: Sia sings like she’s trying to get a canker sore away from her teeth, but at least that’s more memorable than Flo’s perpetual void or this copy-of-a-copy-of-a-Guetta. Except, that is, when she sings “I heard you like the wild ones,” where my mind either fills in the chorus of “Animal” or “…honey, is that true?”[4]

W.B. Swygart: Sia gives this a bit more sweetness than it deserves. Flosspot may or may not be telling you about the new conservatory he had built the other week. It really lets the light in. Sometimes he likes to eat cereal there and watch the sun come up. Then take the dog for a walk down the park. Very good schools in this area, too. Nice arse on you, by the way. [4]

Alex Ostroff: At first I thought I heard Sia say ‘sodomy’ in the bridge, but she’s actually saying “Saddle me up.” Past years of bland club rap with ‘anthemic’ choruses have apparently induced Stockholm Syndrome – I no longer find this sub-genre actively unpleasant, just tedious. Flo Rida’s talent for creating a flow that suggests dancing even more than his beats do remains significant, and Sia’s wolf on the prowl appeals to my lycanthropictastes, but ‘Wild Ones’ never rises above dancefloor filler.[5]

Anthony Easton: There is something lovely and quite sad about Sia’s desire to make the wild less wild — and there is something bracing in how his verses move into hers; the boasting that seems so much part of his argot is like the Wizard behind the curtain, but nothing that showy, or perhaps nothing so fraudulent. But maybe that’s cause I’m a sad indie fuck who does not understand the pleasure of Flo Rida’s libertine self. [9]

Sabina Tang: At the two-minute mark I started brooding on how that is two minutes of my life I’ll never get back, which is the #1 reason I haven’t been blurbing all the songs: existential horror prevents me from playing them all the way through. Sia used to rate Ulrich Schnauss remixes, you know? That is sad to think about. [1]

WOW. I’m apparently surrounded by tin eared fools. Are you kidding me? It’s an excellent remix. Sia’s voice sounds juicy like you want to take a bite out of it. Flo definately knows his place in the song and shows up just enough not to screw it up. Over 30 of my friends have this high on our iplod play lists. I think i’ll take the opinion of 30 people who listen to dance dayly over that of 12 people who probably listen to John Denver’s Greatest hits regularly.

Do any of you people(the top 12) even listen to dance music? I have serious serious doubts that you do.